In the example of the actress playing Manuela in 'Children in Uniform', what substitution was provided to trigger a genuine reaction of shame and humiliation?
Explanation
This question tests the reader's memory of a key case study used in the chapter to illustrate the practical, and sometimes unconventional, application of substitution to solve a specific acting problem.
Other questions
How does the author reinterpret the common acting expression 'to lose yourself' in a part?
According to the text, what is the Webster definition of substitution?
How does the author expand the use of the word 'substitution' beyond its technical application for a single difficult moment?
According to the author, when is it NOT necessary to make a substitution?
In the example of playing Nina in 'The Sea Gull', what real-life element did the author use 'head-on' for her performance?
What does the author state is the actor's 'totally private work' that a director cannot help with?
When preparing for the role of Blanche DuBois, what is the initial problem if the author relies on her 'cliché image of myself'?
How does the author suggest she can build a reality for Belle Reve without ever having lived on a plantation?
What is the author's approach to creating the relationship with Blanche's sister, Stella, given that she never had a sister?
When an actor has difficulty finding a substitution for the content of a scene, what does the author suggest is often the root of the problem?
For an actor playing Othello who has never desired to murder anyone, what kind of substitution does the author recommend searching for?
What substitution did the author use for Falstaff when working on a monologue from 'The Merry Wives of Windsor'?
In 'The Country Girl' example, what did the author do when the word 'bitch' did not produce a strong enough reaction in her?
In the second example from 'The Country Girl', what substitution did the author apply to her character, Frank, to make the action of leading him to the sink specific and loaded?
According to the author, when are substitutions complete?
What is the danger the author points out regarding an actor who cries real tears on stage, but the audience's only response is, 'Oh, look, real water!'?
What is the 'less literal' and 'more personal and private' kind of substitution the author finds important in her own work?
What is the author's strong warning about using personal and private substitutions, especially 'essences'?
What happens, according to the author, the minute an actor shares their substitution source with others?
How does the author define 'particularization'?
In the ashtray example, how does the author make a dime-store ashtray particular when it is placed in a Park Avenue penthouse setting?
What is the ultimate purpose of substitution as described in the chapter?
The author states that the substitution process is 'in flux'. What does this imply about the work?
What is the key difference between hunting for a substitution based on 'similarity of events' versus 'similarity of psychological experiences'?
Why must an actor make each object they see or come in contact with 'particular' when building a character's reality?
The author uses the phrase 'To do is a synonym for to act.' What is the significance of this statement in the context of building a character?
What is the psychological springboard a Desdemona actor should search for, according to the text?
What is the 'inevitable step' an actor must take after finding a psychological substitution, such as using a dentist's office for Desdemona's fear?
In the author's example of working on Blanche DuBois, what substitutions did she use to connect with Blanche's need for beauty and delicacy?
What does the author suggest can be of service for substitution even if it's 'bad'?
How did the author complete the substitution involving her daughter to find a reality with the actor playing Frank in 'The Country Girl'?
What is the Tennessee Williams image for Blanche DuBois that the author found 'blocked' her and was hard to overcome?
The author warns, 'Please remember that in any example I have given you for substitutions, I was only making my own examples.' What is the key takeaway from this warning for an actor?
What does the author state is an 'essential for everything in acting from identification of the character right down to the tiniest physical object'?
According to the text, when an actor playing Martha in 'Who's Afraid of Virginia Woolf?' has personal experiences that mesh with the character's life, such as being the daughter of a professor, what does this represent?
What is the primary way the author suggests an actor can find a reality for physical states like fatigue, heat, or oppression?
What is the psychological need the author suggests an actor playing Desdemona might use as a substitution in her final scene?
The author states that substitution is NOT an end in itself. What is its purpose in relation to the actor's performance?
What must an actor do to make the Kowalski apartment in 'A Streetcar Named Desire' real to themself?
According to the author, substitutions from life experience are drawn from a wide range of sources. Which of the following is NOT listed as a source in the text?
When an actor endows an ashtray with a psychological history, such as it being a sentimental gift, how does this affect their performance?
What is the author's view on a talented amateur or genius actor making substitutions?
Why might a director's request for 'October tones' be a hindrance to an actor?
In the example of Othello's final scene, the author argues that actors are often stopped by hunting for a similarity of events rather than what?
What is the result of a successful substitution, as illustrated by the action that followed each example (Manuela grabbing the chemise, the author kicking the letter)?
What is the author's primary goal when using substitution for every moment of her work?
How must every detail, including place, objects, and relationships, be treated in the actor's work?
When the author first began acting, she states that 'to lose yourself' in the part was a confusing expression. What did she initially believe these artists meant by that phrase?
What is the danger of an actor being 'too literal' and taking the outer words 'I hate you' at face value?